Lessons

Lesson Info

Starting to Paint Images

okay so now we're going to go a little bit of a different direction there's lots of ways that you can do fine art with digital mediums you can do it obviously in photo shop and you could do it in a program called carl painter I am not sponsored by coral painter andre in fact a lot of products that you see me using today golden mediums I'm not sponsored by so just kind of note that these are products that I used that I love that I have discovered worked well for me and the applications that ideo um so painting is a whole other animal but it's also very how do I feel about it it's it's so cathartic like the act of painting it's one of those things you could just sit there and do for hours and hours and hours and it's almost like therapeutic meditating eso once you learn how to paint it's actually a very enjoyable process and you'll find yourself just getting away lost in the painting so be careful because sometimes you can get two lost and then like five hours has gone by and you're like...

where has my dad gone but painting is when I discovered painting I realised all of a sudden that there is a whole nother world that I never knew existed and it opened up opportunity for me with my fine art and I think that's what art is about is finding tech sneaks that give you the freedom to express what's in your heart and when you find a medium that makes your heart saying the way painter does for me it's extremely inspiring so my hope is that with you guys being super interested in in all this that I can help you at least start off with some basic techniques and painter I am by no means an expert in painter heather michelle chin heather the painter is my mentor when it comes to painting the woman rocks my world uh she is so wickedly talented she is a coral painter master and she is so wickedly talented that I suggest if you really want to learn how to paint on a deeper deeper level that you contact her or someone else like her who has a very deep understanding of coral painter and painting organically in general and that's what I love about heather is that she paints her training isn't painting actual painting organic paints so when she switched over to digital she took what was natural and made it natural in the digital medium brushes in corral can look digital like they can look like not riel and that's the hardest part about painting and corral is making it look like it truly is an organic organic painting um so I'm gonna kind of start off with a little key not here about the basics of painter and then we're going to go into painter and kind of review all that and I'll show you kind of what we talked about in the keynote in the actual program and then I'm going to start actually painting an image okay we're going I'm actually gonna pickem image that we used that we shot yesterday or the day before I can't know which one it is but we will play around with an image that we worked with here that we photographed here we're going to talk about what the brushes do and how to control them that's the hardest thing about painter when you first get into it the brushes will overwhelm you there are hundreds of brushes in painter there's chocks there's sumi e there's calligraphy there's pencils there's cloners there's blenders there's oils there's artist or is this really oils there's chuck you will just go or which one do I use and how and why less is more again start with one set of brush is that you can master and then move on okay it's a slow process painter is justus powerful it's photoshopped it will take you years to master everything that is in that software okay we're gonna talk about how to prepare your canvas for inorganic medium the second half of the class I'm gonna pop over here to my painting on the easel here that I painted last sunday and printed I'll talk to you how to prep a canvas and how to start applying gels to it gels are just clear paints is really all they are they dry clear and they have different thicknesses and mediums and textures to them and it can really add an enormous amount of organic quality to your digital paintings so we're going to do that um we're going to talk about the tools and products to use for that we're also going to discuss what types of gels are out there and what they do how they behave which ones not to use okay we're going to talk about drying and finishing techniques as well a lot of the challenge you're going to see me apply our glass or semi gloss but your final painting doesn't have to remain gloss or semi gloss depending on how you finalize it and finish it okay we're going to also talk we're just going to brief introduction about adding color I'm going to show you have finished painting that I brought with me because obviously this one won't have time to dry but I want to show you what the finished product looks like you can also take this a step further and apply true color acrylics to your painting okay it is very hard to do as a matter of fact this is a technique that I am just learning so I'm not even an expert enough to teach you that so I'm not even going to try but I want to tell you that it's possible the hardest part about it is understanding how to mix color I'm gonna have a great book for you guys if someone could hand me those books over there I'll kind of show you some some texts some things for further learning betty edwards she did the book drawing on the right side of the brain which is how I learned to draw she had this book called color is an incredible book on not only color theory but also on how to mix paints and mixing paint to match an image is incredibly hard okay it takes years of practice and learning and I stink at it actually it takes me hours to do acrylic on top of my paintings but it's a personal challenge is something that I'm continue to pursue but so I'm gonna talk to a little bit about what you need for that but really you would want approach someone like heather to learn how to actually apply color to your fine finished paintings but I am going to teach you how to do it the easy way you know still elevated that fine art level in a way that looks and your clients or just going absolutely love it okay this book here perspective and composition by let's see who it's it's printed by barron's it's a great little book on composition and learning how to see things and how you should place elements in your images on dh then this book here if you can find it sadly it is out of print but if you can find this use grab it this is a fantastic book that features all the types of composition that are out there and we'll teach you how to create a story just by placing elements in your frame okay so this is composition by sara kent chianti it's the composition is the art of arranging in a decorative manner the various elements at the painter's disposal for the for the expression of feeling that is a quote by henri matisse who if you guys all know is a very famous painter so let's get started in painter x three basic cloning and brush controls um painter x three is the latest version of painter that's out I learned on painter twelve so as you can tell I haven't been doing this too long what I dio is something called cloning you don't have to know how to paint a baby's head to paint in corral you can paint from a photograph carell will pull the colors from the photograph to the painting on top of it so that you don't have to know how to actually painted knows our lips or get it right because I mean if that hadn't happened I wouldn't be painting okay so I am not that talented of an artist the brushes and how they behave are some of the scariest things in there the types of brussels brussels brushes that I use the most are oil's chalks and pencils okay if you start off with those categories that's going to teach you how to use basic brushes that will apply to a lot of different applications does that make sense okay ah brush variant is that's a brush category like a shot the chalks of the pencils or the oils that's that's considered a brush category in carell and I will show you guys all this in the program on the left of the screen shot there are the brush category's okay so charcoal in contact cloners digital watercolors gel image shows in pasto thes air all different types of categories of brushes on the right side is the variant okay so basically that's the brush that's how the how the brush behaves okay so if it's a blunt chalk it's going to behave it's in the chalk category it's going to behave very bluntly and you'll learn how each brush behaves and what it does and what its characteristics are all of those are customizable so you could go crazy with brush controls like brush ology one o one is one of mean you can get so and skip allen is a painter in carell and he has some brush ology courses that are just so advanced and amazing I'm just dabbling into how you can control the characteristics of a brush and what it does okay so keep that in mind I'm just kind of giving you the basics of it there's brush variance which are kind of how the brush behaves what it does okay the category is its overall um feel does that make sense okay so in the top panel of carell and I'm just kind of giving I know this is very you're like I got to see this in the programme I'm going to show it to you in the program I just want to give you an overview right now of what it what it is and then we're gonna go in the program and and see it firsthand okay so brush controls each variant so right now I'm in the hair soft blender okay each variant along each control along here does different things the size your brush the opacity pretty straightforward how big and how dense it is ok re saturation restoration that was a typo sorry re saturation bleed feature grain and jitter are all different brush controls that make the brush behave in a different way so if you start fussing with this stuff and don't understand how karol is thinking you really like doing it's freaking out on me and you're you're gonna just go nuts and give up okay so that's why I want to teach you what these different brush controls do so that you understand exactly how your brushes they're behaving and how to control them okay so size obviously controls the width of your brush that's pretty basic okay we know that that's ahh pretty second grade opacity controls the density of the painting being applied again pretty state forward a twenty percent opacity is going to be a less dense brush than one hundred percent just like in photo shop okay then there's what's called re saturation this controls the amount of paint on your brush so I'm just gonna pull out a brush here if I did my pain and brash and and and a lot on there that's ah hye ri saturation my paint is loaded my brushes bloated with paint okay if I just grab it that's just a little itty bitty paint that's a low re saturation so imagine rie saturation being just how much you into the pain okay it is much easier to make sense when you when you do that ok ok there are two different modes of painting love using brush oh I feel like I'm composing isn't funny though you know you're truly in your element when you grab a tool in your leg I just feels good like I want to eat so there are two ways of painting in corral you can actually on your canvas on a blank piece of paper in color mode take a color and paint on the campus just like an organic painter medium would do there's also clone mode which is how I paint for the most part what that is is your images behind your canvas and carell takes the color so if I paint with a brush it takes the characteristics of that brush but the color from behind that's clone mode so re saturation acts a little differently whether you're in color mode or clone mode okay so re saturation and color mode determines how much pain is on your brush so if you have zero re saturation on an active brush without paint on it then you're just blending no pain blend blend blend blend blend taking what's already there in blending in okay in clone mode however re saturation determines how much detail or accuracy you're pulling back from the photograph beneath oh just going yeah okay I get it so if I ah hi reset will bring back a lot more of your photograph so if I have one hundred percent reset and just want to do the eyes it's almost like sharpening my eyes I'm gonna bring back the detail by having a high reset ah lot of paint on my brush using clone load will mush the pixels around in all the different colors okay so just note that that's the one thing about re saturation thatyou have to note it's a very important part of painting whether or not you're in clone mortar color mode bleed it controls how your brush interacts with the underlying paint that's already on the canvas so okay so I've painted a little bit I've got some stuff on here bleed is how much like how wet the pain is underneath it if it blends with the paint on top does that make sense okay so the bleed controls how smoothly your brush marks will blend so ah hi bleed will give you a beautiful smooth blended mark where is a bleeding zero literally stopped the pixels and drag them across the page okay so this is where things get a little confusing with how the brush controls work and you'll have to play around with them and really when I strongly suggest is picking one brush when you're learning this and just playing with one brush control it a time to see how it affects things and literally just take a piece of white paper on your canvas make a few colors and then practice doing bleeding zero at one hundred percent see what happens then load your brush re saturation high then put your re saturation zero and see what happens any brush khun b a blender if the reset is at zero because there's no paint on the brush so that means any old brush whether it's you know a flat or fan can be a blender if there's no paint on it right it depends on how much paint is on it if the effect if tio ad that you'll still get the effect of the brush with its characteristics but if there's no pain on it then you're not going to get any color replied does that make sense okay feature controls the width of space between the bristles this brush right here has a lot of space between its bushel so imagine looking at this brush like this if I separated the hairs how different that brushwood behave than if they're nice and pulled together and clumpy like that does that make sense it's going to if they're nice and clumpy I'm going to have a smooth stroke that's not going to have a lot of texture to it if there's a feature in there that's sometimes I have to remind myself if the feature is it lower heights lo I believe I got I gotta double check and painter in other words if the if there's a lot of space between the bristles it's going to streak across the page and give you more texture and you're in your brushstroke correct that makes sense so feature controls that all right some brushes have characteristics called grain okay these air things like chalks if I have a piece of paper this this for example this desk is very rough if I just put a plain piece of copy paper on this and then used a chalk over it you would see the texture of the paper wouldn't you grain is the same effect you khun set paper textures in corral you canoes and there's all kinds of papers in there to set so if I use artist's canvas and I take chalk over the canvas depending on my grain level if I have one hundred percent green that means on pushing down really hard with chalk to fill in all the holes and the texture of the paper if I have a light grain it means I'm just brushing my chalk across the paper to pull up the texture from the paper does that make sense so that's how grain behaves and then there's jitter some brushes have jitter and that means how scattered your dad abbess okay so like the brush dab is basically if I just dabbed my brush what would it look like on the paper some brushes can scatter that like there's impressionistic brush is where you brush him and then just like freak out it looks like they're on caffeine okay and you're like well okay that's the jitter but it's actually a very useful can you imagine being the trees and doing leaves if it's scattering everywhere it's gonna make your painting job a lot easier okay so all these different brush controls affect the way your brushes behave and if you understand how these working carell your life's gonna be a lot less frustrating okay okay like I said heather god bless her she took me from not knowing anything in painter to doing a lone print in less than a year but she is amazing and will do custom web accessions meaning you can learn from her from across the country around the world okay she will screen share with you and teach you how to paint bless her she is much more advanced than I am and all right she is the reason that my art has taken off in the direction that it has so I have to give her that credit by the way in the next section of keynotes she supplied a lot of the images of the of the stuff I'm going to show you so I have to thank her for that too okay you ready paint let's paint any questions before we get started yeah well have a trial like a thirty day trial dio they do have a trial yes so you can down with suffer is it fourteen days or thirty days is it thirty is a thirty day trial so yeah definitely if you're gonna try it out download it when you have some time to spend on it a little bit the learning curve initially is great okay so just keep that in mind but if you devote you know like a two week chunk to it when you're slow or whatever that's going to be the best option to you and be careful it's very addicting